MODERN MAGIC CHAPTER L
Introduction.
ONSIDERING the great antiquity and the on. fading popularity of the magic art, it seems at first sight a matter of wonder that its literature should be so extremely scanty. In England, in particular, is this the case. Until within the last few years it would have been difficult to name a single book worth reading upon this subject, the whole literature of the art consisting of single chapters in books written for the amusement of youth (which were chiefly remarkable for the unanimity with which each copied, without acknowledgment, from its predecessors), and handbooks sold at the entertainments of various public performers, who took care not to reveal therein any trick which they deemed worthy of performance by themselves. Upon a little consideration, however, the scarcity of treatises on *White Magic*' is easily accounted for. The more important secrets of the art have been known but to few, and those few have jealously guarded them, knowing that the more closely they concealed the clue to their mysteries, the more would those mysteries be valued. Indeed, the more noted conjurors of fifty years ago strove to keep the secret of their best tricks not only from the outside world, but from their confreres, ht the present day the secrets of the art are not so well
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kept j and there is hardly a trick performed upon the stage which the amateur may not, at a sufficient expenditure of shillings or guineas, procure at the conjuring depdts. There being, therefore, no longer the same strict secresy, the literature of magic has improved a little, though it still leaves much to be desired. The general ambition of compilers seems to be to produce books containing nominally some fabulous number of tricks. In order to do this, they occupy two-thirds of their space with chemical and arithmetical recreations, and as a necessary result, the portion devoted to conjuring tricks, properly so called, is treated so briefly and scantily as to be practically useless.
There is a vast difference between telling how a trick is done and teaching how to do it. The existing treatises, with few exceptions, do the former only. The intention of the present work is to do the latter also j to teach sleight-of-hand generally, as well as particular tricks j and to conduct the neophyte from the very A B C of the magic art gradually up to those marvels which are exhibited on the public stage. The student may rest assured that, if he will diligently follow the instructions here given, he will be able in due time, not merely to astonish his friends extempore with a borrowed coin or pack of cards, but to roll two rabbits into one, compel chosen cards to rise spontaneously from the pack, produce lighted lanterns from empty hats, and bowls of gold-fish from empty pocket-handkerchiefs j in a word, to
execute all those wonders which he has hitherto deemed the exclusive property of the public performer. There are, of course, different degrees of natural aptitude. a Non cuivis hominum contingit adire
Corinthum.*' It is not every one that can be a Robert-Houdin or a Buatier, but, given the usual number of fingers and thumbs, fair intelligence, and a sufficiency of perseverance, any one who wiU may become at least a tolerable conjuror. Be it remembered, that we especially stipulate for perseverance. A wizard is not to be made in a day, and he who would attain excellence must be content to proceed as he would with music, drawing, or any other accomplishment —viz., begin at the beginning, and practise diligently until he attains the coveted dexterity. The student need not, however, wait the termination of the
somewhat formidable course of study we hav» indicated, before he begins to astonish his friends j on the contrary,
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there are numerous tricks requiring very little manual dexteritv, whi :h are yet, if neatly performed,
brilliant in effect. These simpler tricks, for which we shall give full instructions, will supply the beginner, even at the outset, with a fair programme, which he may from time to time enlarge as he feels able to undertake more elaborate illusions.
The first rule to be borne in mind by the aspirant is this: * Ncvei tell your audience beforehand what you are going to do." If you do so, you at once give their vigilance the direction which it is most necessary to avoid, and increase tenfold the chances of detection. We will give an illustration. There is a very good trick (which will be described at length hereafter) in which the performer, after borrowing a
handkerchief, gives it to some one to hold. When it is returned, it proves to be torn into small pieces. It is again handed to the holder, who is instructed, in order to restore it, to rub it in a particular manner; but when again unfolded, it is found in a long strip. These effects are produced by successive adroit substitutions, and the whole magic of the trick consists in the concealment of the particular moment at which each substitution is effected. Now, if you were to announce to the audience beforehand that you were about to cause the handkerchief to appear in several pieces, or in a long strip, they would at once conjecture that the trick depended on an exchange, and their whole vigilance being directed to discover the moment of that exchange, you would find it all but impossible to perform the trick without
detection. If, on the other hand, you merely roll up the handkerchief, and ask some one to hold it, the audience, not knowing what you are about to do, have no reason to suspect that you have handed him a substitute j and when the transformation is exhibited, the opportunity of detection will have already passed away.
It follows, as a practical consequence of this first rule, that you should never perform the same trick
twice on the same evening. The best trick loses half its effect on repetition, but besides this, the audience know precisely what is coming, and have all their faculties directed to find out at what point you cheated their eyes on the first occasion. It is sometimes hard to resist an encore, but a little tact will get you out of the difficulty, especially if you have studied, as every conjuror should
do, the variation and combination of tricks. There are a score of different ways of vanishing a given
article, and as many of reproducing it j and either one of the first may be used in conjunction with either of the second. Thus, by varying either the beginning or the end, /ou make the trick to some extent a new one. The power of doing i lis readily is very useful, and among other advantages will enable /on to meet an en come by performing some other trick having some element of similarity to that which you have just completed, but ter minating in a different and therefore unexpected manner.
The student must cultivate from the outset the art of "talking," and especially the power of using his eyes and his tongue inde pendently of the movement of his hands. To do this, it will be necessary to prepare beforehand not only what he intends to do, but what he intends to say, and to rehearse frequently and carefully even the simplest trick before attempting it in public. It is surprising how many little
difficulties are discoverer! on first attempting to carry into effect even the clearest written directions; and nothing but practice will overcome these difficulties. The novice may be encouraged by assuming, as he safely may, that the most finished of popular performers was once as awkward as himself, and were he to attempt any unfamiliar feat, would probably be as awkward still.
Before proceeding to the practice of the magic art, it will be well to give a short description of two or three appliances, which are of such constant use that they may be said to form the primary
stock-in-trade of every conjuror. These are—a short wand, a specially adapted table, and certain secret pockets in the magician's dress. There are numerous other appliances of very general use, which will be explained in due course, but those we have named are so indispensable that we could hardly complete the
description of half-a-dozen tricks of any pretension without a reference to one or other of them. First in order comes
THE MAOIC WAND.
This is a light rod of twelve to fifteen inches in length, and about three quarters of an inch in diameter. It may be of any material, and decorated in any manner which the fancv of the owner may
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tate. To the uninitiated its use may appear a mere affectation, but such is by no means the case. Apart from the prestige derived from the traditional properties of the wand, and its use by the wizards of all ages, it affords a plausible pretext for many necessary movements, which would otherwise appear awkward and unnatural, and would thereby arouse the vigilance of the audience at possibly the most critical period of the trick. Thus, if the performer desires to hold anything concealed in his hand, by holding the wand in the same hand he is able to keep it closed without exciting suspicion. If it is neces* sary, as frequently happens, to turn his back upon the audience for an instant, the momentary turn to the table, in order to take up or lay down the wand, affords the required opportunity. We most strongly advise the would-be magician to cultivate from the outset the habitual use of the wand. Even where its employment is not absolutely necessary for the purpose of the trick, its use is in strict accordance with the character he professes to fill, and the dainty touch of the wand, for the supposed purpose of
operating a magical transformation, assists materially in leading the audience to believe that such
transformation did actually take place at that particular moment, instead of having been (as is really the case) secretly effected at an earlier period.
The next appliance to which we must draw the studentV attention is THB MAOlCIAN*S TABLE.
There are plenty of good minor tricks which may be performed anywhere, and with little or no previous preparation, but as soon as the student has outgrown these humbler feats, and aspires to amuse his
friends or the public with a pre-arranged seance, his first necessity will be a proper table. We do not now refer to the elaborate combination of traps, pistons, etc., which is used for stage performances. This will be duly described in its proper place. The table necessary for an average drawing-room exhibition differs from an ordinary tabla in two points only—its height, which should be six or eight inches greater than that of an ordinary table—and the addition of a hidden •helf or ledge at the back. Its form and
dimensions are very much MODERN MAGIC.
a matter of fancy and convenience. For most purposes nothing it better than a plain oblong deal table. It should have turned legs of some harder wood, stained and polished, and these, if it is desired to make the table portable, should be screwed into the four corners, so as to be readily taken off and put on again as may be required. In length the table may be three to four feet, and in breadth eighteen inches to two feet. Three feef by twenty inches is a very convenient size. At the back should oe placed, about six inches below the level of the top of the table, a projecting shelf, six to eight inches in width, and extending
nearly from end to end. This shelf, which is technically known as the servante, should be covered with thick woollen cloth, in order to deaden the sound of any object falling on it
Some performers have a rim about half an inch high running along the outer edge of this shelf j while others, in place of the shelf, use a wooden tray, fixed in the same position, and one to two inches in depth. The manner of fixing the shelf is optional. In some tables it is made to slide in and out like a drawer $ in others to fold up on hinges against the back of the table, or itself to form the back. This latter is the most convenient mode, as the opening made by the nap when let down gives access to the interior of the table, which forms a convenient receptacle for necessary articles. In this case, the upper part of the table is made box fashion j i.e., is bottomed throughout with wood on a level with the hinges of the servante, giving an enclosed space under the whole extent of the table. Over the table should be thrown an ordinary cloth table-cover, of such a size as to hang down about ten or fifteen inches at the front and sides, but not more than an inch or so on the side away from the audience. To prevent its
slipping, the cloth may be fastened on this side with a couple of drawing pins. Where traps are used, and the cloth has therefore to be cut, the hanging cloth is dispensed with, and the table is covered with cloth glued on the top, with a margin round it, after the fashion of a card-table, and this may be done, if
preferred, even where the table is without mechanism. The adoption of this plan allows of the
introduction of gold mouldings, or other ornamentation, on the front and sides. In our own opinion, unless there is some special reason to the contranr in the mechanical arrangements of the table, the plain
hanging cover is preferable, as being least suggestive of apparatus or preparation. The precise height of the table is best determined by the stature of the performer. The servante, or hidden shelf, should be just so high from the ground as to be level with the knuckles of the performer as his arm hangs by his side; and the top of the table should, as already stated, be about six inches higher than this It will be found that this height will enable the performer secretly to take up or lay down any article thereon without stooping or bending the arm, either of which movements would suggest to the spectators that his hand was occupied in some manner behind the table. One of the first tasks of the novice should be to acquire the power of readily picking up or laying down any article on the servante, without making any corresponding movement of the body, and especially without looking down at his hands. If the per* former is uncertain as to the precise whereabouts of a given article, he must ascertain it by a quick glance as he approaches his table, and not after he has pieced himself behind it. From this moment he must not again look down, as if once the audience suspect that he has a secret receptacle behind his table, half the magic of his tricks is thenceforth destroyed.
An oblong box, twelve or fourteen inches in length by three in depth, well padded with wadding, and placed on the servante, will be found very useful in getting rid of small articles, such as coin, oranges, etc., as such articles may be dropped into the box without causing any sound, and therefore without attracting attention.
In default of a table regularly made for the purpose, the amateur may with little difficulty adapt an ordinary table for use as a makeshift A common library or kitchen table having a drawer on *me side, and raised on four bricks or blocks of wood to the requisite height will answer the purpose very fairly. The table must be covered with a cloth j and should have the drawer pulled out about six inches (the drawer side being, of course, away from the audience) to form the servante. A still better extempore conjuring table may be manufactured in a few minutes with the aid of a good-sized folding bagatelle board. Place the shut-up board on a card or writing table (which should be six or eight inches shorter than the board), in such manner that there may be left behind it (on Che side
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which is intended to be farthest from the audience), a strip o\ table six or seven inches in width. This will form the servante. Throw an ordinary cloth table-cover over the bagatelle board, letting it hang down a foot or eighteen inches in front, and tucking its opposite edge under the hinder" edge of the
board, whose weight will prevent it slipping. If the cloth is too large, it must be folded accordingly before placing it on the table. The table thus extemporized will be of a convenient height, and will answer very fairly for the purposes of an ordinary drawing-room performance.
The conjuror, however, may be called upon to give a sample of his art when neither regular nor extemporized table is available j and even where he is sufficiently provided in this respect, he will
frequently have occasion to produce or get rid of a given article without retiring behind his table to do so. The wizards of a century ago met mis necessity by wearing openly in front of them a sort of bag or apron, called in the parlance of the French conjurors, agibeciere, from its supposed resemblance to a game-bag. This was used not only to carry the cups and balls, and other minor paraphernalia of the art, but for the purpose of procuring, exchanging, or getting rid of any small article at the pleasure of the performer. In fact, this bag supplied the place of the servante, which was not then known. It is hardly necessary to observe that the gibeciere has been long since disused, and a performer who should now appear in a pocketed apron would run much risk of being taken for a hairdresser. Although, however, the gibeciere is not now, as of old, worn openly, the conjuror of the present day is pro-Tided with certain secret substitutes, to explain which it is necessary to say a few words as to
It is not very many years since the orthodox dress of the conjuror was a long and flowing robe,
embroidered more or less with hieroglyphic characters, and giving ample space for the concealment of any reason-aole sized article—say from a warming-pan downwards. The very last specimen of such a garment, to the best of our belief, is, or was, worn by the magician attached to the Crystal Palace. We do not know whether he is compelled by the regulations of the establishment
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to wear such a robe; but if so, it ought to be liberally considered in his salary. The costume de rigueur of the magician of the present day is ordinary "evening dress." The effect of the feats performed is greatly heightened by the close fit and comparative scantiness of such a costume, which appears to allow no space for secret pockets or other place of concealment. In reality, however, the magician is provided with two special pockets, known as profondes, placed in the tails of his dress-coat. Each is from four to six inches in depth and seven in width, and the opening, which is across the inside of the coat-tail,
slanting slightly downwards from the centre to the side, is, like the servante, so placed as to be just level with the knuckles of the performer, as his hand hangs by his side. He can thus, by the mere action of dropping either hand to his side, let fall any article instantly into the profonde on that side, or take
anything from thence in like manner. The action is so natural, that it may be used under the very eyes of the audience, at very small risk of their observing it; and if the performer at the same moment slightly turns his other side to the spec tators, he may be perfectly secure from detection. Some performers have also a couple of pochettes (small pockets) made in the trousers, one behind each thigh. These are
generally used for purposes of production only, the profondes being still employed for getting rid ol any article, which, indeed, is their primary purpose, for they were originally made too deep (' projonde,* whence their name) to get articles easily out of them. Many professors, in addition to the pockets above mentioned, have also a spacious pocket, opening perpendicularly, inside the breast of the coat, under each arm, for the purpose of what is called "loading," i.e. t bringing a rabbit, or other article, into a hat, etc Other pockets may be added, as the fancy or invention of the performer may dictate ; but the above are those generally used.
It will also be found a great convenience to have an elastic band, about an inch in width, stitched around the lower edge of the waistcoat on the inside. When the waistcoat is in wear, the band makes it press tightly round the waist, and any object of moderate size—a card, or pack of cards, a handkerchief, etc.— may be slipped under it without the least risk of falling. Used in conjunction with the pockets before described, this elastic waistband affords a means of instantaneously effecting "changes " of articles too large to be palmed with
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safety j one hand dropping the genuine article into the profonde on that side, while the other draws the prepared substitute from under the waistband, a very slight turn of the body, towards the table of
otherwise, sufficing to cover the movement.
With these few preliminary observations, we proceed to the practice of the art, commencing wim the ever-popular class of illusiont performed by the aid of playing cards
MODERN MAGIC. n CHAPTER 11.
General Principles of Sleight-of-Hand applicable to Card Tricks.
Among the various branches of the conjuror's art, none will better repay the labour of the student, whether artist or amateur, than the magic of cards. It has the especial advantage of being, in a great measure, independent of time and place. The materials for half its mysteries are procurable at five
minutes' notice in every home circle j and, even in the case of those tricks for which specially prepared cards, etc., are requisite, the necessary appliances cost little, and are easily portable—two virtues not too common in magical apparatus. Further, the majority of card tricks are dependent mainly on personal address and dexterity, and, as such, will always be highly esteemed by connoisseurs in the art. Before very large audiences, indeed, the spectators being at a distance from the performer, much of the effect of a card trick is lost; which is probably the reason that, of late years, tricks of this class (with a few
exceptions) have been rather neglected by professors; and that many feats which in the times of Conus and Comte were numbered among the sensations of the day, are now almost entirely forgotten. We shall endeavour in the following pages, after explaining the principles of sleight-of-hand applicable to cards, and giving instructions for some of the best of the more commonplace feats, to revive the recollection— and, we hope, the practice—of some of these biilliant performances.
The Cards. —The adept in sleight-of-hand should accustom himself to the use of every description of cards, as frequently none but the ordinary full-sized playing cards may be available. Where, however, the choice is open to him, he should use in the actual
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anoe of tricks, cards of a smaller and thinner make. The common French cards answer the purpose very well. Among cards of English make, some of the best for the purpose are the small cards of the French pattern made by De La Rue & Co. for use in France, and those known as the *' Tankerville'' cards, both imported by Peck & Snyder, 124 Nassau Street, New York City, which are thin, well made, and of small size, but of the English pattern. In any case, it is well to use only the piquet pack of thirty-two cards (the twos, threes, fours, fives, and sixes being removed), the complete whist pack being inconveniently bulky for sleight-of-hand purposes.
To Make the Pass. (Sauter la coupe). — The effect of this
sleight, which is the very backbone of card-conjuring, is to reverse the respective positions of the top and bottom halves of the pack, i.e., to make those cards which at first formed the lower half of the pack, come uppermost, when those cards which at first formed the upper half will of course be undermost. It is used by card-sharpers, immediately after the cards have been cut, to replace them in the position which they occupied before the cut, and from this circumstance derives its French name. There are
various methods of producing this effect, some requiring the use of both hands, some of one hand only. These we shall describe in due order.
First Method. (With both hands).—Hold the pack in the left hand, lengthways, with the face downwards, as if about to deal at any game. In this position the thumb will naturally be on the left side of the pack, and the four ringers on the other. Insert the top joint of the little ringer immediately above those cards which are to be brought to the top of the pack (and which are now
under-Fig. 1.
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most), and let the remaining three fingers close natmally on the remaining cards, which are now uppermost. (See Fig. 1 ) In this position you will find that the uppermost part of the pack is held between the little finger, which is underneath, and the remaining fingers, which are upon it. Now advance the right hand, and cover the pack with it. Grasp the lower portion of the pack lengthways between the second finger at the upper and the thumb at the lower end, the left thumb lying, slightly bent, across the pack. Press the inner edge of the lower packet into the fork of the left thumb, so that the two packets will be as shown in Fig. 2. Next draw away the upper packet, by slightly extending the
fingers of the left hand, at the same time lifting up the outer edge of the lower packet, till the edges of the two packets just clear each other (see Fig. 3), when by the mere act of closing the left hand they will be brought together as at first, save that they will have changed places. Do this at first very slowly,
aiming only at neatness and noiselessness of execution. At the outset the task will be found somewhat difficult, but gradually the hands will be found to acquire a sort of sympathetic
action j the different movements which we have above described will melt, as it were, into one, and the two packets will change places with such lightness and rapidity that they will seem to actually pass
through each other. A slight momentary depression and elevation of the hands (apparently a mere
careless gesture) in the act of making the pass will completely cover the transposition of the cards, which in the hands of an adept is invisible, even to the most watchful spectator.
The above is the most orthodox and the most perfect method of
making the pass, and if the student be proficient in this, he need trouble himself vt-ry little about the remaining methods, which are inserted chiefly for the sake of completeness, being very inferior in all respects. Wherever in the course of this book the student is directed to make the pass, this first method will be considered to be referred to, unless otherwise specially expressed.
Before quitting the subject of this method, we should mention that it is sometimes necessary to cause the two halves of the pack to 'kiss,' 5 e., to bring them face to face. This is effected by turning the original apper packet face upwards in the act of bringing the transposed packets
together. When the pass in the ordinary form is fairly mastered,this slight variation will occasion no additional difficulty.
In this, as in all othei branches of prestidigitation, the student will find it of the greatest possible
advantage to practise before a looking-glass. By this means, better than any other, he will be enabled to judge how far his movements succeed in deceiving the eyes of a spectator. One caution may here be given with advantage: the student of legerdemain must iearn to perform all necessary movements without looking at his hands, unless for some special reason he desires the spectators to look at them a'so. In every case, wherever the performer desires his audience to look, his own eyes must take that
particular direction ; and wherever he desires his audience not to look, he himself must carefully abstain from looking. Let us suppose, for instance, that a person has drawn a card, and has replaced it in the middle of the pack. The performer desires to bring it to the top, for which purpose it is necessary to introduce the little finger above the card in question, and to make the pass, as above
Fig. 3.
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described. When the card is replaced in the pack, the eyes of the drawer are naturally directed towards it ; and if the performer were himself to look downward at the cards, it would multiply tenfold the chances of detection. He should pause for a moment, and, looking full at the person who drew the card, ask, " You are certain that you will know that card again ? " or make any similar observation. As he speaks, a natural impulse will draw the eyes of the audience to his own face, and he may then make the pass
without the slight necessary movement attracting the least attention. It is hard to believe, until tested by actual experience, what apparently obvious movements may be executed under the very noses of an
audience, if only their attention is diverted at the right moment by a dexterous use of the eye and voice of the operator.
Second Method. — (With both hands).— Holding the pack in the left hand, as directed for the first method, grasp as before the lower portion of the pack lengthways between the second ringer at the upper end and the thumb at the lower end -, move the left thumb, which now takes no part in the
operation, a little below the pack to be out of the way. Then slide the lower half of the pack a little to the left, and the upper half to the right till they ji st clear each other (see Fig. 4), when you will be enabled to place what was originally the upper half undermost, and vice versa. This is the theory of the process, but in practice tie necessary motions are not nearly so distinct. As you grow more and more expert, the
necessary movement from right to left should become gradually smaller and smaller, until at last it is almost im? perceptible. You must study to reduce this movement to the very
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minimum j and in order to do this, endeavour, after you have once seen clearly what it is you have to do, to keep the hands together as much as possible. Let the edge of the palm of the right hand rest gently, but firmly, on the first three fingers of the left hand, and let the contact thus made form a kind of hinge or fulcrum for the movement of the hands. When you become expert, you will find that the mere
outward movement of the two hands upon this imaginary hinge (the cards being held lightly, and allowed to accommodate themselves to the movement) is sufficient to produce the effect.
We have above recommended you to keep the hands together as
much as possible j but there are circumstances under which an ostentatious separation of the hands is equally effective. Thus, holding the cards as above directed, you may make the pass by (apparently)
merely cutting the cards, lifting, in truth, the under instead of the upper half, the latter making way (by a slight and momentary extension of the left hand) to allow it to pass. You may also, when holding the
cards as just cut (i.e., half the pack in each hand), make the pass in the act of bringing them together. To do this you should hold the right hand packet in such manner that the thumb and second finger may project a full inch beyond the face of the cards. At the moment of bringing the two packets together
(which should be done with a sidelong motion of the right hand from right to left) this thumb and finger grip the other packet, and slide it out towards the left shoulder, leaving what was originally the right
hand packet in the left hand. If this is done neatly, the movement is so subtle that the keenest eye cannot detect that the two packets have changed hands. Having effected the change, you may take your own
Fig. 5.
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the now uppermost packet on the other. The circumstances of each trick will indicate the cases in which it may be desirable to adopt either of these variations.
Third Method. (With both hands.)—This is very similar to the first method, but much less neat. Take the cards, as in the former case, face downwards in the left hand, but instead of the little finger, insert the second and third fingers immediately above those cards which are to be brought to the top of the pack, and draw the first and fourth fingers below the pack. (See Fig. 5.) In this position the lower half of the pack is held as in a forceps between the second and third and the first and fourth fingers. Now cover the pack with the right hand as directed for making the pass by the first method, but in this instance grasp therewith (between the first and second fingers at top and the thumb at bottom) the upper half of the pack. Raise this upper half slightly, to allow room for the movement of the lower half, and at the same moment slightly extend the fingers of the left hand (See Fig. 6.) This will make the lower packet de*
scribe a quarter of a circle. As soon as it is clear of the upper packet, by reversing the motion (ie., closing the fingers of the left hand, and at the same time lowering the right hand), the two halves of the pack will be again brought together, but that half which was originally undermost will now be uppermost. The movement will be understood more clearly on an inspection of the diagrams a and b (Fig. Q, a
representing an end view of the two portions of the pack in their original position, and b of the same in their transposed
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position, the original lower portion being in each case indicated by the darker shade.
Fourth Method. (With the left hand.)—This is almost the same as the method last described, save that the left hand only is used. The upper packet, instead of being held in the right hand, is in this case
clipped between the ball of the left thumb and the point where the thumb joins the hand. In other respects the movement is the same.
Fifth Method. (With the left hand.)—Take the cards in
the left hand as before. Insert the third finger above the cards which are to be brought to the top (and which now form the lower half of the pack), and close the remaining three fingers on the top of the pack. (See Fig. i, but suppose the third finger inserted in place of the fourth.) Now extend the fingers, which will make the upper part of the pack describe a semicircle (see Fig. 7), and at the same moment press downward with the thumb the left top corner of the lower packet. This will tilt up the opposite end of the lower packet, and give room, as you again close the fingers, for the upper packet to pass into the lower place. (See Fig. 8.) To bring the original upper packet (i.e., the one with the six of hearts at the bottom) from the position indicated in Fig. 7 to that which it occupies in Fig. 8, it is pressed slightly forward with the middle finger, ard is thereby made to perform a semi-revolution, the third finger
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acting as pivot. The packet is by this means turned over endways, i.e., that end of the packet which was originally nearest to the performer is now farthest from him, and vice versa. The movement is by no means easy to describe, but if followed step by step with the cards, will be readily understood.
This method of making the pass has a peculiarity which renders it specially useful in certain cases. When the upper half of the pack describes a semicircle, as above mentioned, the bottom card of such half is in full view of the performer, though the spectators see only the back? of the cards. The performer thus becomes acquainted, unknown to his audience, with that card which, after the pass, becomes the bottom card of the pack; which knowledge may occasionally be very useful. The movement of the cards in this mode of making the pass is very noticeable; but the circular sweep taken by the upper packet so confuses the eye, that the audience
must be extremely keen-sighted to detect the effect of the movement, which, if neatly executed, has the appearance of a mere flourish. A quick sweep of the arm from left to right as the pass is made will
greatly assist in covering the transposition of the cards.
Some perform the pass last described without causing the upper packet to make the semi-revolution above mentioned. The first finger in this case does not participate in the operation, but is left extended beyond the upper end of th«* pack.
Sixth Method. (With either hand.)—Take the pack in either hand, as if you were about to stand it on end on the table, the
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backs of the cards being next to the palm. Insert the third finger between the two halves of the pack, and draw the second and fourth
fingers behind the pack. In this position, the uppermost half of the pack is held between the third finger and the second and fourth fin gers. Clip the lower or front half of the pack at its two top corners between the thumb and the first finger. (See Fig. 9.) Now extend the second, third, and fourth fingers, which will carry with them the upper half of the pack. As soon as it is clear of the lower half, again close the fingers, thereby bringing the upper packet to the bottom. (See Fig. 10.) This mode of making the pass may be employed as you place the pack on the table, the movement for that purpose serving to cover that by which the cards are transposed. If no table is at hand a quick movement of the hand and arm from right to left, at the moment when the pass is made, will be found to answer equally well.
Seventh Method. (With the right hand.)—This is a mere makeshift for the pass
proper, though its effect is the same. It is performed in picking up the cards from the table after they have been cut, and left, as is usual, in two heaps. The performer picks up, as in the ordinary course,
Fig. 10.
MODERN MAGIC. 21
Fig. it.
tfie bottom half of the pack (which should properly be placed uppermost after the cut) 5 but, instead of picking them up in the usual way, he picks them up with the second, third, and fourth fingers under, and the first finger above the cards. In placing them apparently upon the upper heap, he tilts up the right hand edge of that heap with the tip of the first finger, and with the remaining fingers slides the heap he already holds under=
neathit (see Fig. 11), so that the cards are again precisely as they were before the cut. This sham mode of making the pass is rarely used by conjurors, but is said to be frequently employed by card-sharpers. To "Force'' a Card. —By this phrase is signified the compelling a person to draw such card as you desiie, though he is apparently allowed absolute freedom of choice. Your first step is to get sight of the bottom card, or, if you want to force a predetermined card, to get that card to the bottom. Having done this, take the pack in the left hand, and insert the little finger halfway down, in readiness to make the pass. Make the pass by the first method, but, before uniting the two halves of the pack in their new position, again slip the little finger of the left hand between them. (The two halves will now be united at the end which is towards the spectators, but divided by the little finger at the end nearest to yourself 5 and the original bottom card, which is the one you desire to force, is now the bottom of the top heap, resting on the little finger.) Using both hands, with the thumbs above and the fingers below the pack, spread out the cards fanwise from left to-right, at the same time offering them to the person who is to draw, and requesting him to select a card. Keep the little ringer of the
»2 MODERN MAGIC,
left hand still on the face of the card to be chosen, or you ma} now Lse, if more convenient, the same finger of the right hand, both being underneath the cards. As the person advances his hand to draw, move the cards onward with the thumb, so that the particular card s'lall reach his fingers just at the
moment when he closes them in order to draw $ and, if you have followed these directions properly, it is ten to one that he will draw the card you wish. It may possibly be imagined that forcing is a very difficult matter, and requires an extraordinary degree of dexterity; but this is by no means the case. The
principal thing against which a beginner must guard, is a ten-denc y to offer the particular card a little loo soon. When the cards are first presented to the drawer, the pack should be barely spread at all, and the card in question should be ten or fifteen cards off. The momentary hesitation of the drawer in
making his choice will give time, by moving the cards q :ker or slower, as may be necessary, to bring that card opposite his fingers at the right moment. Should the performer, however, miscalculate his time, and the card pass the drawer's fingers before the choice is made, he need not be embarrassed. Still keeping the little finger on the card, he should sharply close the cards, and making some remark as to the drawer being "difficult to please," or the like, again spread them as before, and offer them for the choice.
A moderate degree of practice will make the student so proficient that even a person acquainted with the secret of forcing will have to be very wide-awake in order not to take the desired card. You will, however, sometimes find a person, suspecting your design and wishing to embarrass you, suddenly jerk his hand away from the card which he was apparently about to take, and draw another from a different part of the pack. In the great majority of tricks this is of little consequence, inasmuch as there are numerous ways (which will be hereafter explained) of ascertaining what the drawn card was j out there are some
illusions which depend upon the drawer taking a card similar in suit and number to one already
prepared elsewhere for the purpose of the trick. In this case it is, of course, absolutely necessary that the card drawn should be the right one j and as even the most accomplished performer cannot always be certain of forcing a single card, another expedient must be used in order to ensure
success. This is made absolutely certain by the use of what is called a "forcing pack "—i.e.,a pack in which all the cards areslike. Thus. if the knave of hearts is the card to be drawn, the whole pack will
consist of knaves of hearts, and the drawer may therefore do his atmost to exercise a free choice, but the card which he draws will certainly be the knave of hearts, and no other. Where more than one card is to be drawn, as, for instance, in the well-known trick of the " rising cards," the pack may consist, instead of similar cards throughout, of groups of two or more particular cards. Thus, one third may be knaves of hearts, one third aces of diamonds, and the remaining third sevens of clubs—the cards of each kind
being together. With the aid of such a pack, it will require very little skill to ensure one of each sort being drawn.
To make a * False Shuffle." —False shuffles are of two kinds, according to the object with which they are made. Those of the first kind are designed simply to keep in view a particular card or cards, the
remainder of the pack being really shuffled. The second kind are designed to keep the pack in a pre-arranged order, and are shuffles in appearance only, all the cards being brought back to the same relative positions which they occupied before the shuffle.
First Method. (To keep a particular card or cards in view.)— Take the pack in the left hand. If the card to be kept in view is not already on the top of the pack, insert the little finger of the left hand immediately above that card, and make the pass in order to bring it to the top. Transfer this card to the right hand, and slide the remaining cards upon it, by little successive parcels of six or eight cards, one above the
other. The known card will now be at the bottom. Return the pack to the left hand. Slide off three or four of the top cards into the right hand, and place the remaining cards, by parcels of six or eight as before, alternately above and below these top cards, till you come to the last card, which is the special one, and which you will place above or below as occasion may require. If there are three or four cards to be kept in view, it makes no difference in the mode of operation, save that you must treat those cards
throughout as the single card, and keep them together accordingly. Second Method, (To keep a particular card in view.)—Bring the *4
MODERN MAGIC.
card in question, as before directed, to the top of the pack. Take the pack in the left hand, holding it upright on its side, the edges of the cards resting on the palm, the four fingers (which should be slightly moistened) being at the back or top, and the thumb on the face of the pack. Now, with the thumb and middle finger of the right hand {see Fig. 12) lift out edgeways that portion of the cards which now forms the middle of the pack, and drop them by packets of five or six at a time upon the face of the cards
remaining in the left hand, moving aside the left thumb to allow of their passage. The pressure of the fingers will always keep the top card in its place, however many of
the remaining cards you lift out with the right hand; and as you only shuffle on to the face of the pack, however often you repeat the process, this card will still remain at the top.
Third Method.— (To retain the whole pack in a pre arranged order.)—Take the pack in the left hand, slide off with the left thumb five or six of the top cards into the right hand, and place the remaining cards by parcels of five or six at a time (apparently) alternately above and below these first cards, as in the ordinary mode of shufiling. We say apparently, for in reality, although you go through the motion oi placing every alternate packet above the cards in the right hand, you do not leave it there, but draw it back again with the thumb on to the top of the cards in the left hand, and then place it, by your next movement, under the cards in the right hand. The result is, that the cards in the left hand, instead of being placed alternately above and below the cards in the right hand, are really all placed below, and in precisely the same order which they occupied at first.
MODERN MAGIC. 25
Some persons are in the habit of making the genuine shuffle, of which the above is an imitation, from the right hand to the left instead of from the left hand to the right, as above described. It may be stated, once for all, that wherever it is found more easy by the student io do with the right hand that which he is here instructed to do with the left, and vice versa, there is not the least objection to his doing so, though the mode here indicated is that which, it is believed, will be found most convenient by the generality of persons.
Fourth Method. (To retain the whole pack in a pre-arranged order.)—Take the upper half of the pack in the right hand and the lower half in the left, the thumb in each case being above and the fingers below the cards. Place the two portions edge to edge, and work in the edges of the cards in the right hand half an inch or so between the edges of those in
the left, spreading the cards in the meanwhile to facilitate the introduction ; but let the right hand cards project about an inch above the top edges of those in the left hand. (See Fig. 13.*) If you were to close up the cards in the relative positions they now occupy, they
* The cards of the right-hand packet are darkened in the figure for the better distinguishing of the two packets, though there would, of course, be no such difference of shade in the original.
would be really shuffkd. To prevent their being so in fact, as well as in appearance, you clip lengthways between the thumb and second ringer of the right hand the cards of the packet on that side, and bend them sharply downwards and outwards. This again disengages then from the other packet, on the top of which you quickly slide them, and press the whole square.
Fifth Method. (To retain the whole pack in a pre-arranged order.)—Make the pass so as to bring the lower half of the pack uppermost. Take the pack in the right hand, keeping the two portions of the pack separated by the little ringer of that hand. Hold the cards face downwards a few inches from the table, and let fall, by five or six at a time, those cards which now form the lower half of the pack. You should so arrange that these cards form four little
heaps, falling in the 1 \=M f&: m ^ M^m Fig. 14.
in order indicated by the accompanying figure (Fig. 14). Thus the bottom cards must fall at 1, the next lowest at 2, the next (comprising all that and the remaining cards (being 4. Now (with the left hand) 4, and (with the right hand)
remain of the lower packet) at 3, the whole of the upper part) at quickly place packet 1 on packet
packet 2 on packet 1, and finally (with the left hand) packet 3 on the top of all, when the cards will occupy precisely the same relative positions as at first. The use of the two hands alternately, coupled
with the rapidity of the performer, gives to his motions an appearance of carelessness which effectually baffles the spectators, and prevents their suspecting that the heaps are re-arranged in any determinate order.
Sixth Method. —This also retains the cards in their pre-arranged order, with this qualification, that an indefinite number are transferred from the top to the bottom of the pack, the effect being as if the cards had been cut without being shuffled. Holding the cards as directed for the last method, you drop them in four heaps as before, but beginning from the left, and proceeding straight onwards in
MODERN MAGIC. a;
regular succession. Now place the first heap on the fourth or right hand heap, and the second heap on the rii> L heap, finally placing the third heap either above or below the pile thus made. Where it is
necessary, after using this shuffle, to bring back the cards to the precise condition in which they were at first, this object may be effected by the use of the " bridge," hereafter described.
To " Palm " a Card.— Bring the card which you desire to palm (by the pass or otherwise) to the top of the pack. Hold the pack face downwards in the left hand, covering it lengthways with the right. With the left thumb push the top card till it projects about an inch beyond the edge of the pack. With the third finger of the left hand, which is now immediately below the card, press it upwards into the right hand, which should half close over it. You must not mind about bending the card, which will lie curled up against the inside of the hand. FlG - X S«
You may either let
the hand drop negligently to your side, or, still better, take the pack between the fingers and thumb of the same hand (see Fig. 15) and offer it to be shuffled. This will give you the opportunity, often very valuable, of seeing what the card in question is. When it becomes necessary to return the card to the
pack, the mere motion of taking the pack in the right hand, whether from the left hand or from the table, will effect that object in the most natural manner. If the card retains a curve from its bent position in the hand, } ou may readily straighten it by ruffling the cards, as described in the next paragraph. If the
performer is fortunate enough to have a large hand, a complete pack of cards may be palmed in this manner without difficulty.
To " Ruffle " the Cards. Hold the pack tightly by its lower end between the fingers and thumb of the left hand, the thumb
being above and the fingers below the cards. Cover the pack lengthways with the right hand, and clip the cards between the fingers and thumb as if you were about to make the pass by the first method. Keep the thumb unmoved, but draw the fingers smartly upwards, so as to bend the cards slightly. The springing of the cards as they escape one by one from the pressure of the fingers, and again straighten themselves, causes a peculiar sharp sound.
The ruffle may also be executed with one hand only. Take the pack between the middle finger at top and the thumb at bottom, the first finger resting in a bent position on the back of the cards. Press strongly with the thumb, so as to bend the two ends of the cards smartly outwards, allowing them one by one to escape from the middle finger, and simultaneously straighten the first finger, so as to clip the lower end of the cards between that finger and the thumb.
The ruffle is a mere flourish, but it is by no means without its value. We have indicated in the last paragraph one of its uses, viz., to straighten a card which has been palmed. Apart from this, there are many tricks in which it is desirable to mislead the spectator as to the particular movement by which, or the point of time at which, a particular effect was produced. This may be effected by a judicious use of the ruffle. Suppose, for instance, that the trick consists in magically bringing a given card to a particular position in the pack, and that the performer has already, without the knowledge of his audience, placed the card in the required position. If, before showing that it is so placed, he ostentatiously ruffles the cards, nine out of ten of the audience will be persuaded that this noisy movement is in some way the cause of the transposition, and will be proportionately the less likely to discover the true explanation of the feat.
To " Change " a Card. {Filer la Carte.')— Some of the most brilliant effects in card-conjuring are
produced by the aid of this sleight, by means of which a card, fairly exhibited, is forthwith appa-fently transformed to a different one. There are several modes of producing this effect
First Method. —Hold the pack in the left hand, as though about to deal the cards. Hold the card to be changed in the right hand,
MODERN MAGIC. 29
between the first and second finders. (See Fig. 16.) The card into which it is to be changed should have been previously placed (secretly, of course) on the top of the pack. Push this card a little forward with the left thumb, so as to make it project about three-quarters of an inch beyond the remaining cards. Bring the hands close together for an instant, and in that instant place the card held in the right hand under the pack, (the second, third, and fourth fingers of the left hand opening to receive it, and the
remaining finger making way for it as soon as it reaches the pack). Simultaneously with this movement, the thumb and first finger of the right hand must close upon the card projecting from the top of the
pack, and, as the hands separate, carry with them that card in place of the one which the right hand
originally held. A half turn of the body to the left or right, a quick downward sweep of the right hand, or any other rapid gesture, will assist in covering the momentary Fj g« *& bringing together of
the hands In some cases it is better that the right hand alone should move, the left hand being held
stationary ; in other cases the left hand (the one holding the pack) should make the movement, the hand holding the single card being motionless. It will be well to practise both these modes of making the
change. The direction in which the performer turns, in order to place the card on his table, or the like, will indicate which is the best mode to use in any given case.
Second Method. —This is a very inferior mode of performing the change, but may be useful as a
makeshift while the student is acquiring the greater dexterity required for the former method. Hold the pack upright towards the audience, with the card to be changed at the bottom (and therefore in full
MODERN MAGIC.
which it is to be changed at the top. The pack should be supported by both hands, and the two cards named should project about half an inch to the right beyond the remainder of the pack, the front or bottom card being between the first and second fingers, and the back or top card between the thumb and first finger of the right hand. (See Fig. 17.) Call attention to the bottom card; make a downward sweep with the pack so as to turn the faces of the cards towards Fig. 17. the ground, and at the
same moment draw off with the right hand the top card, which the audience will imagine to be the one they have just seen at the bottom.
Third Method. — Hold the card to be changed face downwards between the thumb and first and second fingers of the right hand, the thumb being above and the two fingers below the card. Hold )he pack in the left hand, as if about to deal the cards, the card for which that first mentioned is to be changed being on the top. Bring the hands rapidly together, pushing the top card with the left thumb about an inch
beyond the rest of the pack, and at the same moment place the card held in the right hand with a sliding motion upon the top of the pack. (See Fig 18.) Both this card and the original top card (which is now second) will now be between the two fingers and thumb of the right hand. Press lightly on the top card with the left thumb to keep it back, and quickly draw away the right hand, pressing gtntly upwards with the two fingers on the face of the second card, which you will thereby draw away in place of the top card. If neatly done, the keenest eyesight cannot detect the substitution of the second card. Your only
difficulty will be to find a colourable pretext for MODERN MAGIC.
31
placing the card you hold on the top of the pack. This achieved, the rest is easy. The nature of the trick you are performing will frequently suggest a plausible excuse. A very successful plan is to boldly request the company to observe that you do not do that which you at the same moment actually do. "You will observe, ladies and gentlemen," you remark, "that I do not, even for one moment, replace the card in the pack, but simply,'' etc., etc. At the words "replace the card in the pack," the hands are brought together, and make the change. The action, suiting the words, is taken by the audience as an indicative gesture only, and thus the change is effected under their very eyes without exciting the least suspicion. In this mode of making thechange,you should aim at being easy and natural, rather than very rapid. The main movement (that which brings the hands together) is undisguised, but attributed to a fictitious motive 5 and the subsidiary movement of the fingers, which actually effects the change, is so slight as to be
Fourth Method. (With one hand only.)—Take the pack, face downwards, in the left hand, as if about to deal. Place the card to be changed on the top, and the card for which it is to be changed next below it. With the left thumb push forward the top card to the extent of half its width, letting it rest on the tips of the fingers. This will leave one-half of the second card exposed. By a reverse movement of the thumb, draw back this second card till its outer edge is just clear of the inner edge of the top card. Now press the second card downwards with the thumb so as to bring its opposite
MODERN MAGIC.
edge just above the level of the top card ; then push it back into it? place, but this time above instead of below the top card.
Fifth Method. (To change a given card without the aid of the pack.)—A card having been chosen and returned to the pack, make the pass to bring it to the top, and palm it. Give the pack to be shuffled, and when it is returned pick out haphazard any card you please, and holding it up between the first finger and thumb of the right hand (in which is the palmed card), announce boldly that that was the card chosen. You will, of course, be contradicted, whereupon you pretend to be disconcerted, and ask if the person is quite
certain that that is not the card he drew, and so on. Meanwhile, you take the card, face downwards, between the first finger and thumb of the left hand, whence you immediately take it again in the right hand (see Fig. 19), taking it so as to bring the palmed card immediately over it, when the two will at a little distance appear to be only one card. You then say, " Well, if you seriously assure me that it is not the right card, I must endeavour to change it to the right one. May I ask what your card was ? " When you are told, you continue, " It is a very simple process. I have merely to lay the card upon my hand, so, or if you prefer it, I will change it in your own hands. Oblige me by holding the card face downwards. I think you said your card was "— (say) "the ace of spades ? Change ! " As you say the words, "lay the card upon my hand," you place the two cards for an instant on the palm of the left hand (see Fig. 20), and draw off rapidly the top card, which is the right one, leaving the other palmed in the left hand, which then drops to your side. The audience do not suspect
Fig. 19.
MODERN MAGIC. 33
Fig. 2a
that the change is already effected, or that you have had more than one card in your hand throughout, and if you Iiave performed the trick neatly, will be utterly nonplussed when the transformation is
revealed. You may, if you please, conclude by asking what card the audience imagine that they first saw, and, when told, remarking that they must have been mistaken in their impression, as that card has been in Mr. So-and-so's tail-pocket all the evening, as you prove by plunging your left hand (in which the card remains palmed) into the pocket, and producing it accordingly.
Sixth Method. (To change several cards at once.)—This sleight is extremely useful in cases where you desire, without the knowledge
of the audience, to gain possession of a given number of selected cards. Palm in the left hand, face downwards, a num. ber of cards equal to that which you desire to abstract. Take the cards which you desire to gain possession of between the second finger and thumb of the left hand (after the manner of the single card in Fig. 19). Cover these cards lengthways with the right hand, and palm them in that hand
MODERN MAGIC.
(see Fig. 21), at the same moment seizing crossways, with the fingers and thumb of the same hand, the cards already palmed in the left hand (which to the eyes of the spectators will be the same they have just seen), and throw them face downwards on the table.*
To Get Sight of a Drawn Card. —The power of doing this is a sine qua non for the conjuror. As already mentioned, even the most expert operator cannot be absolutely certain of "forcing" the card which he desires, and a novice is very likely indeed to find a wrong card occasionally drawn. It is therefore
necessary to be provided with a remedy for such a contretemps. One mode of meeting the difficulty is to allow the card to be returned to the pack, make the pass to bring it to the top, and palm it, immediately giving the pack to be shuffled, and in so doing to get sight of the card, which remains in your own hand, and can in due time be reproduced in any way you please. (See Fig. 15.) For the present purpose, we assume that you do not desire to retain possession of the card, but merely wish to know its suit and value. These may be ascertained as follows:—
First Method. — Ask the
Fig. 22.
drawer to return his card to the pack, which you offer for that purpose in the left hand, spreading the pack fan wise, in order that he may insert the card where he pleases. As he replaces the card, slip the
little finger of the left hand below it, and close the fan. You now have the pack held in the palm of the left hand, but divided just below the chosen card by the little finger, the three remaining fingers being
* The last two very useful and effective sleights are inserted by special permission of the inventor,
Professor Hellis, of No. 13, Silver Street, Kensington, one of the cleverest and most genial drawing-room performers of the day.
MODERN MAGIC. 35
on the top. Offer the cards to be shuffled, or make any gesture you like with the pack, at the same
moment slightly straightening the fingers. The effect of this movement will be to lift the upper packet, and thus open the pack bookwise, the opening being towards yourself, and the lowest card of the top heap, which is the card you desire to ascertain, being for the moment in full view. (See Fig. 22.)
Second Method. —Proceed as above, but instead of opening the pack to get sight of the card, bring it secretly to the bottom by the pass, and offer the cards to be shuffled, holding them at t! e upper end
between the thumb and first and second finger of the right hand, and slanting from you at an angle of 45 0 , as in Fig. 15. As the faces are towards you, you have a full view of the card. Even if it should suggest itself to the audience that you are able to see the oottom card, as they are not aware that the chosen card is now in that position, there is nothing to excite their suspicion.
You may, by way of variety, instead of offering the cards to be shuffled, hold them in the right hand, and make the single-handed " ruffle " above described, at the same time turning their faces slightly towards yourself. You may effect the same object, even more simply, by the mere act of passing the pack from the one hand to the other, keeping the bottom card turned inwards as above.
To " Slip " a Card. — Hold the pack in the left hand, having first slightly moistened the fingers, which should rest upon the back of the cards. Open the p ack bookwise, at an angle of about 45 0 , holding the upper i<ia *&
packet lengthways between the thumb and second finger of the right hand. Draw this upper packet smartly upwards to a distance
MODERN MAGIC.
of two or three inches from the lower packet. (See Fig. 23.) The top card of the upper packet, being held back by the pressure of the fingers upon it, will not move upwards with the rest of th< packet 3 but
immediately the remaining cards are clear, will fold /tself down on the top of the lower packet. If the top card of the lower packet be examined before and after the slip, the card will appear to have changed, the fact being that the original top card becomes the second after the slip, the slipped card covering it.
To Draw Back a Card, (filisser la carte). —The performer
Fig. 24. Fig. 35.
shows the bottom card, then dropping the pack into a horizontal position, face downwards, he draws out, with the thumb and second finger of the other hand, apparently that card, but really the next above it. This is effected as follows •—Hold the pack upright in the left hand between the first finger and
thumb, the back of the cards towards the palm, and the thumb and finger about the middle of each side of the pack Let the third finger, which should be previously moistened, rest on the face of the cards. (See Fig 24.) You will rind that in this position, bv moving the third finger, you can draw back tru; bottom card about <m inch below the remaining cards, and
MODERN MAGIC. 3?
thereby leave exposed a corresponding portion of the next card. (Set Fig. 25.) This is the whole
mechanism of the operation. You must, of course, take care, after showing the bottom card, to turn the pack downward before you slide back that card in order to draw the next card in its place.
To "Turn Over" the Pack. —There are certain tricks (as, for instance, where you have undertaken to produce a given card at a particular number in the pack) for which it is necessary to deal a certain number of cards from the top, and then (without the spectator's f^
knowledge) to continue the deal from the opposite end of the pack. &.S a necessary preliminary, ycu
must " face " the cards— i.e., bring the upper and lower portions face to face. This you have already been taught to do by means of the pass. Whichever way the pack is turned, it will now, of course, show backs only. Take the pack flat in the left hand, the fingers clipping it rather tightly, but without the aid of the thumb. Pass the thumb underneath, and with the ball of the thumb press the pack smartly upwards (see Fig. 26), when it will describe a semi-revolution on its longer axis, the lower face of the pack being
thereby brought uppermost. If performed with the hand at rest, the movement is very perceptible ; but if you at the same time make a semicircular sweep of the hand and arm from left to right, the smaller
movement of the pack in the hand is much less likely to attract notice.
To Spring the Cards from one Hand to the Other.-— This is a mere flourish, and belongs rather to the art of the juggler than to that of the magician; but it is so frequently exhibited by conjurors that a work on magic would hardly be complete without some notice of it. The cards are held in the right hand, between the
tips of the second and third finger at the top, and the thumb at the bottom. If the thumb and ringers are now brought slowly nearer together, so as to bend the cards slightly, they will one by one, in quick
succession (beginning with the bottom card) spring away from the pack ; and if the pressure be
continued, the whole of the cards will spring away one after the other in this manner. If the left hand be held at ten or twelve inches distance from the right, with the ringers slightly bent, the released cards will be shot into the left hand, which, as the last cards reach it, should be rapidly brought palm to palm with the right, and square up the pack to repeat the process. By giving the body a quick half turn to the right as the cards are sprung from one hand to the other, you may make the hands (and with them the moving cards) describe an arc of about two feet, and so deceive the eye of the spectator into the belief that the hands are that distance apart, though in reality, as they both move together in the same direction, they retain throughout their original relative distance of ten or twelve inches.
To Throw a Card. —This sleight also belongs rather to the ornamental than to the practical part of conjuring, but it is by no means
to be despised. It is a decided addition to a card trick for the performer to be able to say, " You observe, ladies and gentlemen, that the cards I use are all of a perfectly ordinary char-Fig. 27. ^** IB * acter," and by way of
offering them for examination, to send half-a-dozen in succession flying into the remotest corners of the hall or theatre.
The card should be held lightly between the first and second fingers, in the position shown in Fig. 27. The hand should be curved inward toward the wrist, and then straightened with a sudden jerk, ;he arm being at the same time shot sharply forward. The effect of this movement is that the card, as it leaves the hand, revolves in the plane of its surface in the direction indicated by the dotted line, and
during the rest of its course maintains such revolution. This spinning motion gives the flight of the card a strength and directness which it would seem impossible to impart to so small and light 1 an object A skilled performer will propel cards in this way to a distance of sixty or eighty feet, each card travelling with the precision, and well-nigh the speed, of an arrow shot from a bow. The movement, though
perfectly simple in theory, is by no means easy to acquire in practice. Indeed, we know no sleight which, as a rule, gives more trouble at the outset; but, after a certain amount of labour with little or no result, tb ° student suddenly acquires the desired knack, and thenceforward finds no difficulty in the matter.